Brimstone a Disturbing yet Must See Parable
by
Kristin Battestella
I
want to write a entire opus on the 2017 European co-production
Brimstone,
starring
Guy Pearce as a hellbent minister and Dakota Fanning as Liz, the mute
midwife afraid of him. The layered statements from writer and
director Martin Koolhoven (Schnitzel
Paradise)
are heavy handed and uncomfortable – many may find Brimstone
at best over long at two and a half hours plus and at worst,
the
picture will be trigger inducing to sensitive audiences. However,
with those caveats said, I don't really want to summarize much else
nor especially spoil this western thriller, as it is best to go into
this must see genre bending parable cold.
The
bleak narration and biblically steeped onscreen chapter titles hit
home the seasoned frontier, rough childbirth, and rustic farms. The
white church and cross atop the steeple stand out as a sense of order
amid the natural wilds, and sermons warn of false prophets, wolves
among the sheep, and hellish retributions worse than one can imagine
for those who stray into lawlessness. Breach births mean choosing
between the mother or the child, creating an ostracizing, easy to
manipulate divide. Is such a delivery up to God or the midwife's
fault? Whispers of evil doing can quickly sway a community to fear
and violence. Fiery calls for retribution and paying for one's sins
add to the fear and grief of an unbaptized stillborn not finding
salvation. Reverse persecution is disguised as divine, and the wolf
in sheep's clothing is almost the devil himself indeed. Why be afraid
of a reverend and not welcome him into your home? The foul afoot need
not be said, and Brimstone doesn't
underestimate the audience, letting the drama play out with
gruesome animal paybacks, abductions, and torturous injuries. The
simmering suspiciousness allows the audience a sense of stillness,
time to focus on the characters while the iconography builds
suspense. The man in black before the burning building or dragging a
girl in white through the mud and calling her unclean are allowed to
speak for themselves. Brimstone uses
a western setting of creepy brothels, servitude, and no justice for
working women to tell a medieval morality play – an already damned
purgatory epic a la Justine's virtues
made vice with shootouts, dead horses, and all the abuses we
can infer. Brimstone's pursuits may be taking place in an
abstract limbo, beyond time and space with different girls who are
one and the same, perpetually chased by the same terror with precious
few other devil or angel on the shoulder characters. The out of order
segments change the settings as they advance the tale, behaving more
like acts themselves where the audience is at first unsure if this is
what happened before or what comes next. Brimstone keeps
viewers interested enough to see how the vignettes tie together; we
trust the unique constructs are part of the juxtaposition
highlighting how the code of the brothel and the rules of the
fanatical minister aren't very different and both inescapables can
even be one and the same. Obey the nastiness of the patriarchal for
body and soul or you are guilty and will be punished. Whatever the
origin of her sinful behavior, a girl should be ashamed – it's her
fault that menstruation makes her Little Red Riding Hood fair
game. Once there is blood there is no innocence, and the vicious
cycle continues with twisted irony, fateful orchestrations, and sins
that cannot be out run. We'd like to think this was just how it was
ye olde back then, but not much has changed has it?
Many
actors today simply would not take such a role, but Guy Pearce puts
on an incredible presentation in
Brimstone as
this extremely unlikable manipulator. Our foreboding minister
justifies his grooming righteousness with warped scripture, remaining
nameless beyond his title or fatherly names – respected monikers
advantageously misused along with creepy chapter and verse and touchy
feely, uncomfortable familiarity. He knows when Liz is hiding near
him and taunts her on how she as such a terrible murderess can sleep
at night. This minister has come to punish her and will use her
husband and daughter to do it. He immediately expresses a shuddering
attachment to her little girl, and after initially claiming his
actions are of God, this minister festers into an unstoppable, almost
immortal embodiment of the sins made flesh carrying him. Hellbent and
beyond salvation, this Big Bad Wolf howls and embraces his brutal
scourge. I'm not often disappointed in Pearce's work despite learning
early on thanks to superior quality like The Adventures of
Priscilla Queen of the Desert, L.A. Confidential, and
Memento (For shame on those who discovered Memento and
Christopher Nolan so late, and why is Snowy River: The
McGregor Saga still not properly available in the U.S.?) However,
this may be his darkest, finest performance, and it's surprising no
awards followed. Likewise, Dakota Fanning (The Secret Life of
Bees) looks the pioneer part. She's kind in an unforgiving
landscape, mute and disliking guns, but strong and we immediately
root for her survival at every struggle, be it a neighbor's cold
shoulder or a freezing last stand. There's never a doubt that she's
in the right, doing what she has to do – her lack of a heard voice
lets her actions speak louder than words. Emilia Jones (Utopia)
as the younger Joanna is also a spirited girl who learns of her own
strengths the hard way. Despite all the abuse and persecution in
Brimstone, these ladies are
not victims. The Minister believes a woman can't out run what a man
has in mind for her and she will pay the price for her resistance,
but Joanna flees to the frontier for her freedom. She
continues to out run evil in all its disguises whether it is a losing
battle or not, and Liz repeatedly take matters into her own hands,
refusing to surrender regardless of all that's taken from her.
The
ensemble behind the leads in Brimstone really are a supporting
cast helping or hindering, well-intentioned or misused, stepping
stones and catalysts. Carice van Houten's sorrowful mother and
helpless wife Anna is completely relatable. The audience wants to
protect her from her husband or see her stand up and do something for
Joanna, but her weakling mother who can't do anything contrasts the
strong woman alone daughter we see later. This minister's wife won't
do her wifely duty, thus she needs to be gagged in an iron mask for
not holding her tongue and whipped until she can gain the Lord's
favor. Hers is a pathetic existence, and this bittersweet role is the
complete opposite of van Houten's Game of Thrones ruthless.
Fellow Thrones star
Kit Harrington is also featured in Brimstone for
Chapter Three – perhaps mostly for the financing incentives and
audience appeal after several casting changes – for his accent is
terrible and he looks a little too pretty boy modern rather than
gritty cowboy. Although we don't doubt his anti-hero outlaw's earnest
or sincerity toward Joanna, his masculine intrusion is the first of
many would be hopeful sparks used against her. Fortunately,
Carla Juri (Wetlands, but
more importantly, the gal plays ice hockey!) is a fun
and feisty prostitute when it comes to the disagreeable male
clientele. She's tender with Joanna, and they plan to leave together
as mail order brides after one too many pimp abuses. Viewers hope for
their escape from the cathouse – even if we know better. The
leaning toward lez be friends because of male hatred innuendo and
sacrificial BFF turns may be slightly cliché, but the ladies are
likable and charming with turnabout twists right up to the end.
Brimstone
is visually aware of its
bleak tale, contrasting the gunfire, outhouses, hangings, and blood
on snow with birds chirping, hymns, and sunshine. Fine cinematography
accents the international locations with overhead angles and
camerawork that knows when to move but also how to be still and let
the action happen. The sign language, costuming, horses, and wagons
add authenticity, and the color schemes don't feel digital or over
saturated. The natural outdoor palette and interior patinas reflect
the chapters being told – a rustic harvest autumn, the hot summer
and barren saloons, the budding fertile spring of a New World
congregation, and a frigid, snowy twilight with cleansing water
bookends. Ironically, Brimstone was
shot in relative chronological order with Three first, then Two, and
later chapters One and Four, and the impressive looking blu-ray
release includes lengthy behind the scenes interviews and detailed
sit downs with numerous cast and crew members. Brimstone is
recognizable as a western yet when and where it takes place isn't
definitive. There's no cowboys in white hats or other familiar
archetypes, only a desolate mood and lawless atmosphere that don't
shy away from the period brutality. While not horror per se,
Brimstone has many horrific
scenes to match its warped attitudes, telling its difficult to watch
tale in its own time with no genre limit to stop it from going too
far – a refreshing lack of cinema restraint which again, for many
audiences, will cross the line. Brimstone is
difficult to watch, yet there's little vulgarity, no unnecessary
visuals, and no major nudity. Corsets and pantaloons invoke enough
saucy, leaving the story and characters to tell the numbing brutality
instead of today's desensitizing flash in the pan in your face style.
However, I must say I don't think I've ever seen that kind of...
um... creative... use of intestines in a movie, ever.
So
many Hollywood movies go through the motions, and Brimstone's
negative stateside reviews may be because American audiences
aren't accustomed to this kind of hardcore storytelling. Period piece
horror dramas transcending genre like Brimstone such as Bone
Tomahawk and The Witch
are being made, however their statement making frights
inexplicably remain elusive festival finds outside mainstream
release. Spoilers aside, I didn't cover all the details
here simply because I didn't take many review notes. I was too busy
paying attention to the not for the faint of heart as
Brimstone strips the viewer
mentally and emotionally with its offensive no holds barred.
Maybe rather than shying away from the viewing conversation, we
should be embracing a quality motion picture that wouldn't be any
good if it didn't push us to our limits as Brimstone does.
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